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Diaries of Janko Cádra

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Diaries of Janko Cádra RECORDS OF JANKO CÁDRA ABOUT GUSTAV MAHLER Devoted to Jonathan C. Carr CBE (*1942 †2008) my generous companion through the world of music The Archives of the Slovak Literary Institute in Martin have been assembling an extensive written heritage of writer and translator Ján Cádra. Of all the documents it is a set of Cádra´s diaries that draws most attention. He started writing them in September 1904 at the request of William Ritter. Ján Cádra was born on 6th December 1882 in Myjava (at that time Upper Hungary, nowadays Slovakia). He finished studies at the Academy of Commerce in Prague, nevertheless he preferred writing and publishing articles and stories for various magazines and newspapers, wrote travel sketches, reviewed new books, etc. He also translated some works of Czech and Slovak literature into French and gained recognition for publishing Czech and Slovak novels and stories in France and Switzerland. Cádra died on 7th October 1927 and is buried in his native Myjava. Janko Cádra got acquainted with William Ritter in 1903 and became his friend, confidante and his secretary. He negotiated Czech and Slovak matter for Ritter. Being his companion, Cádra had a splendid opportunity to meet outstanding personalities including Gustav Mahler. Gustav Mahler (1860 – 1911) is one of the most outstanding European musicians composing at the turn of the 20th century. He is an author of several songs cycles and 10 symphonies from which the last remained unfinished. Many composers of the 20th century admit Mahler's influence to their work. As for Cádra´s records of Mahler, besides diaries he wrote an article on the occasion of the premiere of the Eighth Symphony or a notation from Ritter and Cádra´s journey to the first performance of the Ninth symphony in Vienna in 1912. In the diaries he described probably all his meetings with the composer as well as his own reflections of Mahler's music. There are really many records of Cádra´s in the Archives of the Slovak Literary Institute and I have chosen at least a small part from them. Cádra was interested both in Mahler – composer and Mahler – the man. Comparing Ritter´s and Cádra´s records – I often looked into the book of Claude Meylan: William Ritter – chevalier de Gustav Mahler and found a certain similarity in details confirming correctness and reliability of both Ritter´s and Cádra´s diaries. The texts are written mainly in Czech or Slovak, some passages are in French and German. With the help from my son I have translated the Czech and Slovak parts into English and where it was suitable, I have left the French and German text in the original wording. For the first time Gustav Mahler was mentioned in Cádra´s diaries on 2nd March 1905, when both friends visited Prague: We were about to go to a chamber music concert, but, instead, we chose Mahler's Fifth Symphony performed in the Neues Deutsches Theater. I was very angry that someone had such an audacity to play something like that. But on the other hand, Wilko liked the symphony very much. There are two other brief notes about Mahler on the opening pages of Cádra´s diaries: 5th March. (…) We slowly walked through Elis Avenue and the Bridge talking of music, of Mahler (I said I did not want to listen to his music any more). (…) And two days later, 7th March, Cádra wrote a brief note: Today Wilko has continued in his work about Mahler that he had started on Friday and before lunch he was very satisfied with his work. (…) William Ritter was fascinated with Mahler's music, though initially he opposed it; he converted in the course of the composer's Prague performance of the Third Symphony on 25th February 1904 in the Neues Deutsches Theater. If Ritter had belonged to the opponents of Mahler's music, he found the same feelings of discomfort in his friend. After Mahler's death Ján Cádra returned in his memories to the first meeting with the composer's music. In his inheritance there is an article written in October 1911, probably for the Czech National Journal (Národní listy): Six years ago my friend took me to the concert of Mahler's Fifth Symphony performed at the Prague German Theatre. His works were only rarely on the programme, so we skipped an interesting concert with Czech repertoir which we booked for. Immediately after Mahler's Symphony we left the theatre and I nearly leapt at my joyful friend. "It is scandalous to take me to a beastly thing like that, the chap does not know, what music exactly is, he sneers his audiences, and you clap him in addition! He’s a clown, nothing is sacred to him, he is laughing at your naivety, the softest feelings of yours, he is sneering, he doesn't know how to compose, he doesn’t know what a symphony looks like…" My friend couldn´t help laughing, saying I blustered so much; in the end, still laughing, he declared: „Bravo, bravo, I like you, on and on, two years later you will adore Mahler! You cry, my boy, just like I did, but wait a bit, listen to this symphony twice or thrice else.“ Never, it has spoiled my evening, for its sake I omitted Vítězslav Novák, certainly I won´t be sleeping, and to throw money down the drain for such a beastly thing once again? I was like a madman and my contempt of Mahler grew up not only with my friend's enthusiasm… All through the year I observed each rehearsal of the Sixth in Munich – and he won me over. My friend was silent, but his eyes shone with a blissful flame. (…) Records of 7th October and 8th November 1906 refer to Mahler's Sixth Symphony performed in Munich in the Kaimsaal. In the course of the concert William Ritter met Gustav Mahler personally for the first time. Cádra´s descriptions of Ritter's spontaneous reaction to the meeting with Mahler and of rehearsals belong to the most precious records. (In the morning) I met Wilko leaning over the cooker mixing milk and cocoa. When I shortly told him I have read an announcement on a poster that on 8th November of this year a great concert would be given, he stopped mixing, straightened up and: ´- oh, quelle chance, quelle chance, quelle chance, ... bravo,´ his eyes sparkled and he asked: ´... et quand?´ ´Le 8 Novembre, ...nous irons, n´est - ce pas?...´ I added with a smile. He turned to me, with a smile, too, saying nothing. (…) From 8th November 1906 are these sentences: Wilko was completely crazy about Mahler's arrival, he did not talk about anything else and in every letter to the one or the other he kept making comments that Mahler would come. Well, he came on a Tuesday and the three of us: Wilko, Marcel and me, went to Kaimsaal to the first rehearsal. Marcel caught Mahler at the door, introduced himself, and Wilko and me introduced ourselves, too. A little man of a mean stature, rather thin then slim, with a big head and standing out jawbones. After a whole night's journey his face was yellow like wax; he still twitched his legs as if he was cold; after meeting Wilko, Mahler looked at him strangely but lovely as though he said to himself: ´Ah, so this is the Ritter…´- and he strongly shook his hands. They exchanged several words and Mahler entered the hall because many people were waiting for him there. With a score we went upstairs to the gallery. (…) Wilko, Marcel and I were fascinated even by today´s imperfect performance and after a quick lunch we were again in the Kaimsaal. Mahler rehearsed the 1st, 3rd and 4th parts. When Alpine bells, which were operated behind the door under the organ by Mr. Pringsheim, rang, Mahler still asked if they were heard and according to answers he ordered opening or shutting the door down or reducing the sound of the bells. Mahler said that at his spot they were heard well, but they must have been indispensably clear also in the audience! (…) Two years later, on 19th September 1908 Gustav Mahler conducted the first performance of his Seventh Symphony. Ritter and Cádra attended its Prague premiere. It is a great pity Cádra kept writing his notes about the Prague performance until a little later and for that reason they are not more comprehensive… Wednesday, 23rd September 1908 (…) When we came to the concert hall, a big yellow building as if coated with mud, we strolled there since about half past nine. On occasions we entered, viewed a vaulted hall as if decorated in an „Indian“ style, where chairs were placed for an evening concert, and then we walked outside back in again. Musicians were coming individually, both on a platform and outside they formed little groups; some of them played their music parts and everything around slowly came to life. Several minutes after ten Wilko finally saw Mahler entering through a side door. We raced to him. He wore a grey- white overcoat and a hat of the same color. When he caught sight of us, he cried out: „Ah – „ and moved forward to us holding out his hand. Mr. Zemánek and another man (…) were with him. We introduced ourselves. After a short talk with Wilko Mahler climbed up the platform and the rehearsal began in a while. The 2nd, 3rd and 4th parts were on. Scarcely an orchestra started playing, Mahler stopped immediatelly and explained; and thus he continued up to the end of the rehearsal.
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